'"'"• ——

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QUADRUM

The Mall At Chestnut Hill 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman George H. Kidder, President J.P. Barger, Yice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman

Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read

Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Fahnestock

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. Bridge, Director of Volunteers John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support of Corporate Development Julie-Anne Miner, Supervisor of Patricia F. Halligan, Personnel Administrator Fund Accounting Russell M. Hodsdon, Manager of Box Office Richard Ortner, Administrator of Craig R. Kaplan, Controller Tanglewood Music Center Nancy A. Kay, Director of Sales Nancy E. Phillips, Media and Production John M. Keenum, Director of Manager, Boston Symphony Orchestra Tanglewood Music Center Development Scott Schillin, Assistant Manager, Patricia Krol, Coordinator of Youth Activities Pops and Youth Activities Steven Ledbetter, Musicologist & Joyce M. Serwitz, Assistant Director Program Annotator of Development Michelle R. Leonard, Budget Manager Susan E. Tomlin, Director of Annual Giving

Programs copyright ©1989 Boston Symphony Orchestra, Inc. Cover by Diane Fassino/Design Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg, Chairman John F. Cogan, Jr., Vice-Chairman Mrs. R. Douglas Hall III, Secretary

Martin Allen Haskell R. Gordon E. James Morton Mrs. David Bakalar Steven Grossman David G. Mugar Bruce A. Beal Joe M. Henson Mrs. Hiroshi H. Nishino Mrs. Richard Bennink Susan M. Hilles Robert P. 0' Block Mrs. Leo L. Beranek Glen H. Hiner Vincent M. O'Reilly Lynda Schubert Bodman Ronald A. Homer Walter H. Palmer Donald C. Bowersock, Jr. Julian T. Houston Andrall E. Pearson Peter A. Brooke Lola Jaffe John A. Perkins William M. Bulger Anna Faith Jones Daphne Brooks Prout Mrs. Levin H. Campbell H. Eugene Jones Robert E. Remis Earle M. Chiles Mrs. Bela T. Kalman John Ex Rodgers Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan Mrs. William H. Ryan James F. Cleary Mrs. S. Charles Kasdon Keizo Saji Mrs. Nat Cole Howard Kaufman Roger A. Saunders William H. Congleton Robert D. King Mrs. Raymond H. Schneider

Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Mark L. Selkowitz Albert C. Cornelio Mrs. Carl Koch Malcolm L. Sherman Phyllis Curtin Robert K. Kraft Mrs. Donald B. Sinclair AlexV.d'Arbeloff Mrs. Hart D. Leavitt W Davies Sohier, Jr. Mrs. Eugene B. Doggett R. Willis Leith, Jr. Ralph Z. Sorenson Phyllis Dohanian Laurence Lesser Ira Stepanian

Harriett M. Eckstein Stephen R. Levy Mrs. Arthur I. Strang Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Katherine Fanning Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Henry L. Foster C. Charles Marran Robert A. Wells Dean Freed Nathan R. Miller Mrs. Thomas H.P Whitney

Peter H.B. Frelinghuysen Hanae Mori Mrs. John J. Wilson Jordan L. Golding Mrs. Thomas S. Morse Brunetta R. Wolfman Mark R. Goldweitz

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Louis I. Kane David R. Pokross Hazen H. Ayer Leonard Kaplan Mrs. Peter van S. Rice Mary Louise Cabot Benjamin H. Lacy Mrs. Jerome Rosenfeld

Mrs. Thomas J. Galligan Mrs. James F. Lawrence Mrs. Richard H. Thompson Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris Mrs. Donald B. Wilson Mrs. Richard D. Hill Stephen Paine, Sr.

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

Cheryl Silvia, Function Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Mrs. Eugene B. Doggett, President Phyllis Dohanian, Executive Vice-President Ms. Helen Doyle, Secretary Mr. Goetz B. Eaton, Treasurer Mrs. Florence T. Whitney, Nominating Chairman

Vice-Presidents

Mrs. Nathaniel Bates, Hall Services Mrs. David Robinson, Fundraising Projects Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Relations Mrs. William D. Larkin, Tanglewood Mrs. Thomas S. Walker, Regions Mrs. Anthony Massimiano, Tanglewood Ms. Margaret Williams, Youth Activities Mrs. Jeffrey Millman, Membership and Adult Education

Chairmen of Regions

Mrs. Russell R. Bessette Mrs. Robert Miller Mrs. Ralph Seferian Mrs. James Cooke Mrs. Hugo A. Mujica Mrs. Anthony A. Tambone Mrs. Linda Fenton Mrs. G. William Newton Mrs. Richard E. Thayer Mrs. Harvey B. Gold Mrs. Jay B. Pieper Mr. F Preston Wilson Mrs. Daniel Hosage

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Brevard Music Center Markowski and Cedrone Georg Solti Dave Brubeck Marian McPartland Stephen Sondheim Chicago Symphony Zubin Mehta Tanglewood Music Center Orchestra Mitchell-Ruff Duo Beveridge Webster Cincinnati Symphony Seiji Ozawa Earl Wild Orchestra Luciano Pavarotti John Williams Aaron Copland Alexander Peskanov Wolf Trap Foundation for Ivan Davis Philadelphia Orchestra the Performing Arts Denver Symphony Andre Previn Yehudi Wyner Orchestra Santiago Rodriguez Over 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE.

vu BSO

to serving as a Trustee of the Boston A Most Generous Gift addition Symphony Orchestra for twenty years, he also The Boston Symphony Orchestra is pleased to served as president of the New England Con- acknowledge the receipt of a most generous gift servatory and was a director of the Boston to the BSO endowment from Dr. Raymond and and Maine Railroad. The Philip R. Allen Hannah H. Schneider of Stockbridge, Massa- Chair was endowed from a charitable trust chusetts. Through a retained life estate that he established. Upon the dissolution of planned gift, the Schneiders have given their the trust in 1972, the remaining principal was property in Stockbridge to the orchestra. This apportioned by his son, Philip K. Allen of gift will be used to underwrite the Festival of Andover, Massachusetts, and his daughter, Contemporary Music at Tanglewood. Anne Allen Conklin of Farmington, Connecti- Mrs. Schneider is a BSO Overseer and a cut. Recalling their father's fondness for the Trustee of the Berkshire Theater Festival and cello, his children thought it fitting that his the Berkshire Garden Center; she and her hus- connection with the BSO be marked in a band have been active in community affairs in meaningful way. They chose to endow the prin- New York City and the Berkshires for many cipal chair in the orchestra's cello section, years. Mrs. Schneider was trained as a clinical currently occupied by Jules Eskin, in their social worker in New York City, where she father's memory. developed programs to serve the deinstitu- tionalized aged and served on the faculties of BSO Members in Concert Columbia University, the College of the City of New York, and Lehman College. Dr. Schneider Harry Ellis Dickson conducts the Boston Clas- was a practicing dentist in New York City for sical Orchestra on Wednesday, January 11, and many years. Dr. and Mrs. Schneider are Friday, January 13, at 8 p.m. at Faneuil Hall. founders of the Medical School at Mt. Sinai The program includes Beethoven's Overture to Hospital, where Dr. Schneider was a member of The Creatures of Prometheus, a Boccherini Cello its staff. Dr. Schneider is a Trustee of the Boys Concerto with BSO principal Jules Eskin as Club of New York and is Chairman of the Boys soloist, and Mozart's Symphony No. 21. Tick- Club of New York Dental Clinics. Long noted ets are $18 and $12 ($8 students and seniors). for their devotion to Tanglewood, the Boston For further information call 426-2387. Symphony Orchestra, and a lifelong commit- BSO musicians Martha Babcock, Thomas ment to the arts, Dr. and Mrs. Schneider have Martin, Aza Raykhtsaum, Harvey Seigel, and spent their summers in the Berkshires for more Michael Zaretsky will join Yvette Roman than eighteen years. We are extremely grateful Schleifer in the inaugural concert of the Royal to the Schneiders for this extraordinarily Chamber Music Series at the Royal Sonesta generous gift. Hotel in Cambridge on Friday, January 13, at 7 p.m. The program includes Mozart's Kegel- statt Trio Quartet, and Symphony Spotlight and Schumann's Piano will be followed by a gourmet buffet dinner. This is one in a series of biographical sketches Tickets are $50 per person. For reservations, that focus on some of the generous individuals call Sharyn Boyd at 576-5977. who have endowed chairs in the Boston Sym- Max Hobart conducts the Pro Arte Cham- phony Orchestra. Their backgrounds are var- ber Orchestra in the overture to Mozart's La ied, but each felt a special commitment to the clemenza di Tito, Tchaikovsky's Serenade for Boston Symphony Orchestra. Strings, Judith Zaimont's Chroma, Northern Philip R. Allen Chair Lights, and Prokofiev's Classical Symphony on Sunday, January 15, at 3 p.m. at Sanders The- A love of music was always a great passion in ater in Cambridge. Tickets are $18, $14, $10, the life of Philip R. Allen (1873-1952), but he and $6. For further information call 661-7067. did not participate directly in playing until Ronald Knudsen conducts the Newton Sym- late in life, at sixty, when he studied under the phony Orchestra in Bruch's Scottish Fantasy tutelage of BSO cellist Alfred Zighera. In with violin soloist Joseph Scheer and Borodin's COPLEY PIACE JUJUcctcU.

Your place for a beautifully orchestrated season Symphony No. 2 on Sunday, January 15, at mentary bouillon, coffee, tea, and sweets are 8 p.m. at Aquinas Junior College in Newton provided. Tickets for individual Friday Pre- Corner. Tickets are $12. For further informa- views are available at the door for $5 (as space tion or reservations call 965-2555. permits), or you may subscribe to any five for Max Hobart conducts the Civic Symphony $15. To receive an advance order form or make Orchestra in a special "Pops Goes to Broad- a phone reservation, please call the Volunteer way" concert including selections from West Office at (617) 266-1492, ext. 177. Side Story, The Sound of Music, My Fair Lady, Fiddler on the Roof, and Cats, among others, Art Exhibits in the Cabot-Cahners Room with guest host Frank Avruch, soprano Joyce Parry-Frey, and baritone Donald Wilkinson For the fifteenth year, a variety of Boston area on Friday, January 20, at 8 p.m. in the Grand galleries, museums, schools, and non-profit Ballroom of the Royal Sonesta Hotel in Cam- artists' organizations are exhibiting their bridge. Tickets are $25, including champagne work in the Cabot-Cahners Room on the first- and dessert. For further information or reser- balcony level of Symphony Hall. On display vations, call 437-0231. through January 16 are works from the Water Street Cooperative Gallery of Mattapoisett. Other organizations to be represented during Friday Previews the coming months are the Robert Klein Gal- Friday-afternoon BSO concertgoers have an lery (January 16-February 13), the Crane Col- opportunity to enhance their understanding of lection (February 13-March 13), and the Vose symphonic music and to increase their appre- Gallery (March 13-April 10). These exhibits ciation of the day's concert program. Under are sponsored by the Boston Symphony Asso- the sponsorship of the Boston Symphony ciation of Volunteers, and a portion of each Association of Volunteers, BSO Musicologist sale benefits the orchestra. Please contact the and Program Annotator Steven Ledbetter Volunteer Office at (617) 266-1492, ext. 177, and BSO Publications Coordinator Marc for further information. Mandel offer a series of ten lectures through- out the season, supplementing their talks With Thanks about the afternoon's music with carefully chosen recorded excerpts. Friday Previews We wish to give special thanks to the National begin promptly at 12:45 in the Cohen Wing of Endowment for the Arts and the Massachu- Symphony Hall. Concertgoers may purchase setts Council on the Arts and Humanities for sandwiches and drinks in Symphony Hall and their continued support of the Boston Sym- bring them to the Cohen Wing, where compli- phony Orchestra.

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BOSTON COACH Seiji Ozawa

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors held in Besan- con, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was made an assistant conductor of that orchestra for the 1961-62 season. In January 1962 he made his first professional concert appearance in North America, with the San Francisco Symphony. Mr. Ozawa was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. In 1970 he was named an artistic director of the Boston Symphony Orchestra's Tanglewood Festival.

Seiji Ozawa was named music director of the Boston Symphony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his sixteenth year as music director of the Boston Symphony Orchestra. With the Boston Symphony Orchestra he has led concerts in Europe, Japan, and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. In December 1988 he and the orchestra gave eleven concerts during a two-week, ten-city tour to England, the Netherlands, France, Germany, Austria, and Belgium.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the Orchestre de Paris, the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philhar- monic. His operatic credits include appearances at Salzburg, London's Royal Opera at Covent Garden, La Scala in Milan, and the Paris Opera, where in 1983 he conducted the world premiere of Olivier Messiaen's St. Francis of Assist, a perform- ance recently issued on compact disc.

Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philhar- monic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels.

Seiji Ozawa won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Leo Panasevich Carolyn and George Rowland chair BOSTON Sheldon Rotenberg Muriel C. Kasdon and SYMPHONY Marjorie C. Paley chair ORCHESTRA Alfred Schneider SEIJI OZAWA M,,,c Raymond Sird Otrraor Ikuko Mizuno Amnon Levy

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair BOSTON SYMPHONY Vyacheslav Uritsky ORCHESTRA Charlotte and Irving W Rabb chair Ronald Knudsen 1988-89 Edgar and Shirley Grossman chair First Violins Joseph McGauley Malcolm Lowe Leonard Moss Concertmaster *Michael Vitale Charles Munch chair *Harvey Seigel Tamara Smirnova-Aajfar *Jerome Rosen Associate Concertmaster *Sheila Fiekowsky Helen Horner McIntyre chair Ronan Lefkowitz Max Hobart Assistant Concertmaster *Nancy Bracken Robert L. Beal, and *Jennie Shames Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster Edward and Bertha C. Rose chair *Bonnie Bewick Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, *James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy Q. and David B. Arnold, Jr., chair, fully funded in perpetuity Patricia McCarty Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison *Participating in a system of rotated seating within each string section tOn sabbatical leave §Orchestra Fellow, Music Assistance Fund

10 Robert Barnes Oboes Trombones Jerome Lipson Alfred Genovese Ronald Barron Joseph Pietropaolo Acting Principal Oboe J.P. and Mary B. Barger chair, Michael Zaretsky Mildred B. Remis chair fully funded in perpetuity Marc Jeanneret Wayne Rapier Norman Bolter Betty Benthin English Horn Bass Trombone *Mark Ludwig Laurence Thorstenberg Douglas Yeo *Roberto Diaz Beranek chair, Cellos fully funded in perpetuity Tuba tJules Eskin Clarinets Chester Schmitz Philip R. Allen chair Margaret and William C. Harold Wright Rousseau chair Martha Babcock Ann S.M. Banks chair Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Timpani Esther S. and Joseph M. Shapiro chair E-flat Clarinet Everett Firth Joel Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Bass Clarinet Robert Ripley Craig Nordstrom Percussion Luis Leguia Atria and Harvey Chet Charles Smith Robert Bradford Newman chair Krentzman chair Peter and Anne Brooke chair Carol Procter Arthur Press Lillian and Nathan R. Miller chair Assistant Timpanist Bassoons Peter Andrew Lurie chair Ronald Feldman Sherman Walt *Jerome Patterson Edward A. Taft chair Thomas Gauger . *Jonathan Miller Roland Small Frank Epstein §Owen Young Matthew Ruggiero Basses Harp Edwin Barker Contrabassoon Ann Hobson Pilot Harold D. Hodgkinson chair Richard Plaster Winona Henderson Sinclair chair Lawrence Wolfe Maria Nistazos Stata chair, fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Helen Sago ff Slosberg chair Bela Wurtzler Richard Sebring John Salkowski Margaret Andersen Congleton chair *Robert Olson Daniel Katzen Personnel Managers *James Orleans Jay Wadenpfuhl Lynn Larsen *Todd Seeber Richard Mackey Harry Shapiro *John Stovall Jonathan Menkis Librarians Flutes Marshall Burlingame Doriot Anthony Dwyer Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Fenwick Smith Roger Louis Voisin chair Myra and Robert Kraft chair Peter Chapman Stage Manager Leone Buyse Ford H. Cooper chair Position endowed by Marian Gray Lewis chair Timothy Morrison Angelica Lloyd Clagett Piccolo Steven Emery Alfred Robison Lois Schaefer Evelyn and C. Charles Marran chair

11 Without You, This Is The Whole Picture,

This year, there is a $9 million difference educational and youth programs, and to attract between what the BSO will earn—and what we the world's finest musicians and guest artists. must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund—and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade.

r ~i Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1988-89 season. (Friends' benefits begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

Name. .Tel.

Address.

City .State. .Zip. Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02 115, (617) 2664492.

I Gifts to the Annual Fund are tax-deductible to the full extent allowed by law. KEEP GREAT MUSIC ALIVE

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N°5 CHANEL PARFUM Know Your Orchestra

The Boston Symphony program book will feature biographies of orchestra members on a regular basis throughout the season.

Carol Procter

Cellist Carol Procter joined the Boston Symphony Orchestra in 1965, turning down a Fulbright Scholarship in order to do so. Before joining the Boston Symphony Orchestra, she was a member of the Springfield Symphony Orchestra and Cam- bridge Festival Orchestra, and principal cellist of the New England Conservatory Symphony and Chamber Orchestras. Born in Oklahoma City, and raised in Dedham, Massachusetts, Ms. Procter studied at the Eastman School of Music and at the New England Conservatory of Music, where she received her bachelor's and master's degrees. She received a Fromm Fel- lowship to study at the Tanglewood Music Center, and she was a participant in the Boston Symphony Orchestra's cultural exchange program with the Japan Philharmonic during the 1969-70 season. Ms. Procter was a member of the New England Harp Trio from 1971 to 1987 and played viola da gamba with the Curtisville Consortium from 1972 to 1981. She performs chamber music frequently and has been soloist with the Boston Pops Orchestra on several occasions.

Aza Raykhtsaum

BSO violinist Aza Raykhtsaum was born in Leningrad and began studying the piano when she was five, taking up the violin a year later at the suggestion of her teacher. Ms. Raykhtsaum majored in violin at the Leningrad Conservatory, where she studied with the renowned Ryabinkov. She became concertmaster of the Leningrad Conservatory Orchestra and a first violinist in the Leningrad Philharmonic before coming to the United States in 1980, after which she joined the Houston Symphony as a first violinist and then became a member of the Boston Symphony Orchestra in 1982. Ms. Raykhtsaum teaches privately and performs chamber music frequently in the Boston area.

Vyacheslav Uritsky When Vyacheslav Uritsky applied for emigration from Russia to the United States, he was immediately dismissed from the Moscow Philharmonic, with which he had been a first violinist for fourteen years. After waiting three months in Moscow and three more months in Rome, he arrived in the United States with his wife and daughter just one day before his scheduled Boston Symphony Orchestra audition in April 1975. Born in Kherson, Russia, Mr. Uritsky grew up in Odessa, a town of strong musical traditions. He began his musical training there with Olga Goldbown and continued at the Odessa State Con- servatory with Leonid Lambersky. Following his graduation from the conservatory, he became a member of the Moscow Philharmonic and the Moscow Philharmonic Soloist Ensemble and toured Europe, Asia, and the United States. For- merly a chamber music coach at the Gnesin Institute of Music, and a frequent performer of chamber music throughout New England, Mr. Uritsky is currently on the faculties of the Boston Conservatory, the New England Conservatory of Music, and the Boston University Tanglewood Institute. He joined the Boston Symphony Orchestra's second violin section in 1975 and became assistant principal of that section two years later.

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* .1 * * «\ * C Michael Zaretsky Born in the Soviet Union in 1946, violist Michael Zaretsky studied originally as a violinist at the Central Music School in Moscow and at the Music College of the Moscow State Conser- vatory. In 1965 he continued his education as a violist at the Moscow State Conservatory. After graduating, he became a member of the Moscow Philharmonic String Quartet and, later, of the Moscow Radio and TV Symphony Orchestra. Mr. Zaretsky immigrated in 1972 to Israel, where he became prin- cipal violist of the Jerusalem Broadcasting Symphony Orches- tra and a soloist of Israeli Radio. In 1973 he auditioned for Leonard Bernstein, who helped him obtain an immigration visa to the United States and brought him to Tanglewood. There, while a Fellow of the Tanglewood Music Center, he successfully auditioned for the Boston Symphony Orches- tra, which he joined that fall. An established soloist and chamber music performer, Mr. Zaretsky has been soloist with the Boston Pops Orchestra, the Rhode Island Philhar- monic, the Atlantic Symphony of Halifax, Nova Scotia, and with symphony orchestras at a number of universities and schools of music. A former faculty member at Wellesley College, Boston Conservatory, and the International School of Music, Mr. Zaretsky now teaches at the Boston University School of Music and the Longy School of Music. In 1983 he initiated an annual festival of Dmitri Shostakovich's music at Boston University. Mr. Zaretsky made his debut as a conductor leading the "Strictly Strings" Orchestra in Boston. For his achievement in teaching, he was elected to the Pi Kappa Lambda Chapter of the National Music Honor Society.

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15 .w BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Thursday, January 12, at 8 Friday, January 13, at 2 Saturday, January 14, at 8 Tuesday, January 17, at 8

JEFFREY TATE conducting

SAXTON In the Beginning (United States premiere)

WALTON Concerto for Violin and Orchestra Andante tranquillo Presto capriccioso alia napolitana; Trio (Canzonetta) Vivace MALCOLM LOWE

INTERMISSION

DVORAK Symphony No. 7 in D minor, Opus 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

The evening concerts will end about 9:55 and the afternoon concert about 3:55. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records. Baldwin piano

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

17 Week 10 collage

Monday Evening Subscription Series

January 30, 1989, 8pm Longy School of Music (One Follen Street, Cambridge)

A TRIBUTE TO MLK JR. AND THE BLACK COMPOSER

A special program in commemoration of Martin Luther King Day and Black History Month, 1989.

Conducted by Gunther Schuller William Brown, tenor Joan Heller, soprano

Oily Wilson No More (1985)

George Walker Poem for Soprano and

Chamber Ensemble (1 986)

T.J. Anderson Vocalise (1981)

Hale Smith Introduction, Cadenzas

and Interludes (1 974)

Tickets: $10 general admission, $6 students/ senior citizens.

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18 Robert Saxton In the Beginning

Robert Saxton was born in London, England, on

X October 8, 1953. He composed In the Beginning between June and November 1987 on a commission from the London Symphony Orchestra with funds provided by the David Cohen Family Charitable I Trust. The first performance was given by the Lon- don Symphony Orchestra under the direction of Jeffrey Tate at the Barbican Centre, London, on January 31, 1988. The present performances are the first in the United States. The score calls for two flutes (both doubling piccolos), two oboes (second doubling English horn), two clarinets (first dou- bling E-flat clarinet, second doubling both E-flat and bass clarinets), two bassoons (second doubling contrabassoon), four horns, three trumpets, three trombones and tuba, a large percussion ensemble for two players (first: vibraphone, three tam-tams, large bass drum, tubular bells; second: crotales, glockenspiel, five tom- toms, three suspended cymbals), timpani, and strings. The work is just under twenty minutes in duration.

Robert Saxton's career in music began when he was seven, in a recorder class at school, where he decided that he would rather write his own tunes than play the ones put in front of him. Two years later he summoned the courage to write to Benjamin Britten for advice, and that composer, always willing to encourage the first steps of young artists, responded; their correspondence lasted for some time. Saxton's assuredness grew with new accomplishment; by the age of twelve he had composed a forty-minute opera on the subject of Cinderella for a production at his school.

Formal study of composition with a master began when, at seventeen, he entered into lessons with Elisabeth Lutyens, which continued during most of his years at Cambridge. In his final year there he also studied with Robin Holloway. Then in 1975 Saxton transferred to Oxford, where he completed his baccalaureate under the direction of Robert Sherlaw Johnson; he also took some lessons with Luciano Berio.

During the last decade, Robert Saxton has produced a substantial and varied series of chamber-sized works and settings of texts by Rimbaud, Auden, and Holderlin, among others (the choice of poets suggests a continuing echo of Britten, who provided memorable compositions on texts of all three). Hermann Hesse served as the inspira- tion for his Reflections on Narziss and Goldmund, his graduation piece of 1975 for two contrasting chamber groups, and Echoes of the Glass Bead Game for woodwind quintet, from the same year. In recent years he has composed a number of larger works, including the Chamber Symphony: Circles of Light (1985/86), inspired in part by Dante's vision of the heavenly spheres, with brilliant whirling arpeggios, the Concerto for Orchestra (1984), and a dramatic Viola Concerto (1986).

Like many of his most recent works, In the Beginning is laid out in several movements, but they run without pause from one to the next, so that the overall effect is of a large symphonic arch. The composer provided the following commen- tary for the first performance:

The title has two interpretations. Firstly it can refer to the opening of Genesis,

with its depiction of the Creation and the birth of Order and Light. Secondly it might suggest the idea of growth and re-birth, and both these concepts were very much in my mind as I worked on the score. There are three linked

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movements. The first begins with the emergence of a motivic/harmonic idea which contains within it its own eventual resolution, and from which all the music of the piece is derived. From darkness, the music rises, reaches a point of illumination, and then returns to the depths, forming an arc. The opening of the second movement is also the temporary harmonic resolution of the first; this is quick and is formed of three arcs, the last of which rises again to arrive at the third part, a dance of joy. This is itself in three parts, the second being a varied repetition of the first, while the last sets a brass chorale alongside the continu- ing dance in the rest of the orchestra. This section culminates in a tutti unison E (as did the center of the first movement) before subsiding onto the true resolu- tion of the work, the notes E/G-sharp. At the end, the vibraphone and crotales chime out a questioning G-sharp/A-sharp against the double basses' low, sus- tained E, not only causing the apparently secure resolution to lose its sense of finality, but also leaving in the listener's ear the fundamental images of the work—darkness opposed to light.

It is easy to hear in the work's opening a musical metaphor for primordial darkness; the double basses (colored by soft rolls on varying percussion instru- ments) intone their lowest E, followed two bars later by the cellos, on their lowest E (but an octave higher than the basses). Trombones and horns move from the low E up a half-step to F, the first pitch other than E in the piece, and the beginning of a kind of creation. Gradually the musical universe is defined, step by step, octave by octave, to a full orchestral /// on a unison E spread across seven octaves: *

-e- xr

From this point the universe begins to collapse again, resolving at the last instance to a low F—almost the first pitch of the work, but not quite. As the low F dies away, the second movement begins without pause—on a low E, but with a quick, agitated figure that generates a new stage of growth, moving generally upward to the spheres of light in a steady 4/4 rhythm (made more complex by different subdivisions of the beat). At the end of the second movement, the violins and woodwinds whirl upward into the last movement's dance, for all the world like spiral nebulae spinning in a grand cosmic waltz. The three parts of the great dance are easy enough to identify, particularly the final one with the sustained brass chorale under the increasing activity of the full orchestra, finally attaining again the universal E of the first movement. The brightness passes away, and the final more tranquil resolution though called into doubt by the added A-sharp in the percussion—is quickly reached. —Steven Ledbetter

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22 William Walton Concerto for Violin and Orchestra

William Turner Walton, knighted by King George VI in 1951, was born in Oldham, Lancashire, Eng- land, on March 29, 1902, and died on Ischia, in the Bay of Naples, on March 8, 1983. He composed his Violin Concerto on a commission from Jascha Heifetz in 1939; the score was completed in New

York on June 2, and Heifetz gave the first perform- ance, with the Cleveland Orchestra, Artur Rodzinski conducting, on December 7 that year.

BSO violinist Amnon Levy gave the first Boston performance of the Walton Violin Concerto, with the Boston Civic Orchestra, Kalman Novack conduct- ing, on February 17, 1967. Mr. Levy also performed the concerto the following year in Symphony Hall, with Arthur Fiedler and the Boston Pops Orches- tra, on May 23, 1968. The present performances are the first by the Boston Symphony Orchestra. In addition to the solo violin, the score calls for two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, snare drum, cymbals, tambourine, xylophone, harp, and strings.

The middle child of three is often the hardest to characterize; youngest and oldest seem to have more "profile." Walton composed three concertos for stringed instru- ments at wide intervals: the Viola Concerto for Lionel Tertis in 1929, the Violin Concerto for Jascha Heifetz in 1939, and the Cello Concerto for Gregor Piatigorsky in 1956. The Viola Concerto is widely regarded as the finest example of its genre. Written when its composer was still generally regarded as an enfant terrible, its poetry and structural power attracted wide notice and helped give the composer the self-confidence to continue on a more mainline track than he had hitherto pursued. The Cello Concerto is one of a small group of late works that followed the extensive work on his opera Troilus and Cressida, and which, as a result of that experience, showed a highly refined color and generally lighter textures.

In between the concertos for viola and for cello comes the Violin Concerto, probably Walton's most popular orchestral work. Part of its popularity may simply stem from the greater brilliance of the work, a natural concomitant of the violin's higher register and the composer's tendency to write more poignant melodies for the lower-pitched instruments. And no doubt a good part of its popularity stemmed originally at least from the championship of the performer for whom it was com- posed, Jascha Heifetz, who demanded that the score he received allow for the full display of his magisterial bravura technique. (When Kyung-Wha Chung was record- ing the concerto in the composer's presence some years ago, she asked him about certain exceptionally difficult passages, wondering if the same effect might not be achieved in some cases more easily; Walton simply replied, "That damned Heifetz!") Heifetz certainly had some say in the final form of the solo part; Walton actually visited him in the United States in the spring of 1939, when the concerto was far advanced, to get the violinist's suggestions for many of the solo details. He then returned to England and completed the work at the beginning of June.

Walton himself was unable to attend the first performance, in Cleveland, and since satellite broadcasts and techniques for convenient taping of concerts did not yet exist, he was unable to hear the work himself for some time. But under the spon- sorship of Heifetz (who held the right to all performances for two years), it was

23 Week 10 successfully performed all over the United States and eventually recorded by the Cincinnati Orchestra under Eugene Goossens with Heifetz naturally playing the solo part. A set of these records was shipped to Walton in England, but it went astray, so the composer never heard the piece before the English premiere with the

London Philharmonic and soloist Henry Hoist at the Albert Hall on November 1, 1941. The challenge of the solo part's technical difficulties and singing line, as well as the enthusiastic advocacy of Heifetz, quickly made the concerto one of the most popular works of its type composed in the last half-century.

The Violin Concerto shares with the earlier Viola Concerto a general pattern of three movements, in which the first is rather slow and built on a somewhat modified sonata pattern, the second is a kind of scherzo, and the finale is the largest and most elaborate movement with a full sonata-form structure. The work is by turns lyrical and playful, showing Walton's skill at creating broad-phrased noble melodies, tinged with poignant dissonance for expressive effect, and the kind of saucy playful games that had first brought him notoriety in Faqade.

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24 The opening movement begins with a rocking accompaniment figure in the clar- inet, whose figures play a prominent role throughout the movement.

Clarinet

Immediately after this the solo instrument enters with a carefully poised, long melody, to which the cellos and bassoons add a simultaneous countermelody.

Andante tranquillo

Violin solo M-f tj frjl m y^ JO sognando

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When this returns at the end of the movement, the roles are at first switched, with the soloist playing the countermelody and the orchestra taking the main theme. The opening octave leap in the solo part becomes an expressive seventh in many later appearances (marked with brackets in the example above). The second theme is another flowing melody, this time climbing steadily from a medium range.

The second movement is a showpiece of witty virtuosity, from its flashy opening to a waltz-like passage that most clearly reflects the tempo designation "alia napolitana" ("in the Neapolitan style"), and a Trio introduced by a slow song from the horn.

The finale begins with a gruff but lively waltz figure, the basic theme of the movement, strongly contrasted to the rapturously lyrical second subject introduced by the soloist with violin-and-harp accompaniment. The elaborate development makes way for a short cadenza for the soloist, but the more elaborate treatment at the end of the movement assembles the main themes from the finale and the main theme of the first movement as well, to demonstrate a relationship between them and round out the work before its broad closing bars. —S.L.

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26 Antonin Dvorak Symphony No. 7 in D minor, Opus 70

Antonin Dvorak was born in Nelahozeves

(Muhlhausen) , Bohemia, near Prague, on September

8, 1841, and died in Prague on May 1, 1904. Dvorak began sketching this D minor symphony on Decem- ber 13, 1884; the final score was completed on March

17, 1885. The composer conducted the first perform- ance in a concert of the London Philharmonic Society in St. James's Hall on April 22 that year. By June he had made a cut in the slow movement before declaring the score definitive. Theodore Thomas led

the New York Philharmonic Society in the first American performance on January 8, 1886. Wilhelm Gericke introduced the symphony to Boston audiences in a Boston Symphony perform- ance at the old Music Hall on October 22, 1886.

Since then it has been programmed by Arthur Nikisch, Emil Paur, Pierre Monteux, Erich Leinsdorf, Stanislaw Skrowaczewski, Donald Johanos, and Sir Colin Davis, who led the most recent Tanglewood performance in 1971, a series of performances in Boston, New Haven, and Carnegie Hall in 1972, and three tour performances in January 1982. The most recent subscription performance was given by Joseph Silver- stein, also in January 1982. The score calls for pairs of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Five years elapsed between the composition of Dvorak's Sixth and Seventh symphonies, but they were years of increasing fame and busy composing in other genres, including the brilliant Scherzo capriccioso, the dramatic Hussite Overture, and the closely argued F minor trio. His opera Dmitri (which, in terms of its plot, is a sequel to Mussorgsky's Boris Codunov) had been performed in Prague and the comic opera The Cunning Peasant in Hamburg. Most important for Dvorak's interna- tional reputation, though, was the extraordinary popularity that he enjoyed in London after Joseph Barnby introduced his Stabat Mater in 1883. He himself conducted the Stabat Mater and other works, including the Sixth Symphony, during a London visit made in the spring of 1884 at the invitation of the Royal Philharmonic Society. Throughout his visit he was warmly feted by the English. As he wrote to a friend,

I am convinced that England offers me a new and certainly happier future, and one which I hope may benefit our entire Czech art. The English are a fine people, enthusiastic about music, and it is well known that they remain loyal to those whose art they have enjoyed. God grant that it may be so with me.

Not long after his return home, Dvorak learned that the Philharmonic Society had elected him a member; at the same time, the society requested a new symphony.

Though the commission was tendered in June, Dvorak did not rush into the work. In fact, he waited six months before starting to sketch, and even then the composi- tion involved more than his usual amount of preliminary work and later rewriting. No doubt he was consciously aiming to do his best not only for the English orchestra that requested the work, but also for his mentor Johannes Brahms, whose Third Symphony, performed just a short time before, was both a challenge and an inspira- tion as Dvorak once again prepared to enter the lists of symphonic composition. Many writers consider the resulting symphony to be Dvorak's greatest single achievement, a work of powerful and varied moods, a nationalistic symphony that offers more than quaint touristy views of peasant dances (a stereotype of the

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Once Dvorak began the actual process of sketching, on December 13, 1884, things seem at the outset to have gone fairly quickly, the first movement being outlined in but five days. By the end of the year he had drafted the slow movement, and the scherzo followed by January 9. The sketch for the finale is undated, but the entire work was finished by March 17, 1885. Still, for all the evident speed with which the symphony was composed, the sketches were only very preliminary versions and required at least one more stage of reworking (now lost) before the composer could begin the full score. The sketch for the finale, in particular, caused him trouble; the pages that survive are incomplete.

Though he had mentioned the symphony in progress to various friends all along, his publisher Simrock did not know of its existence until Dvorak wrote to him in February:

The new symphony has already occupied me for a long, long time, but it must be something respectable for I don't want to let Brahms down after his remark to me: "I imagine your symphony quite different from this one [the preceding symphony, in D major]."

Simrock was not especially impressed, even when the premiere of the symphony in

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Tiffany & Co. BOSTON • COPLEY PLACE • 100 HUNTINGTON AVENUE • 02116 TO ORDER CALL 617-353-0222 • ©T& CO. 1988 London, under the composer's direction, turned out to be a brilliant success. He insisted that symphonies never earn any money for the publisher and offered Dvorak only 3000 marks for the work, precipitating an argument that was not settled for months. (What Simrock really wanted—constantly—was ever more sets of Slavonic dances for piano four-hands: they sold like hotcakes.) Even when the dispute was settled during a personal meeting between publisher and composer, Simrock showed a lamentable lack of sensitivity to the nationalistic sentiment inherent in Dvorak's request that the title be printed in Czech—or at least Czech and German—rather than in German only. He never did understand why the composer objected to having his first name Germanicized as "Anton" on all of his title pages.

When the score was published in the autumn of 1885, Simrock's title page contributed to a long-lasting confusion in the numbering of the Dvorak symphonies. Since it was only the second of his symphonies to appear in print, it was published as "No. 2." But the manuscript described the work as Dvorak's "6th Symphony"—and it was actually his seventh! (He had composed a symphony early on for entry in a competition, and when he was unable to get the score back afterwards, he apparently assumed that the work was lost forever, and numbered his remaining symphonies for the rest of his life as if he had never composed that early first symphony; that score was rediscovered after Dvorak's death, and the standard numbering now follows the order of composition.) The published score bore no dedication—not even to the Philharmonic Society. But Dvorak's manuscript bears a private inscription. After he had heard a pair of stunning performances of the symphony given in Berlin under the direction of Hans von Biilow on October 27 and 28, 1889, the composer pasted a photograph of von Biilow to the title page of his score and added the words, "Hail! It was you who brought the work to life!"

Dvorak's enthusiasm for von Billow's performance was in part caused by the fact that his symphony had been received with scant success on the Continent at its first

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performance, in Vienna, under Hans Richter. Riehter himself had written to the composer expressing his dismay with the reaction of the Viennese audience, then as now among the most conservative to be found in the world. "Our Philharmonic audiences," wrote Richter, "are often—well, let us say, queer. I shan't, however, let that put me off." But Richter noted that the new symphony absolutely required "a dramatically trained conductor—a Wagnerian (Hans Biilow will forgive me!)" to do full justice to its range of mood.*

The symphony opens with a theme of deep Slavic foreboding, lyrical in character but built of motives that could serve as the germ for development. The first page of the final score contains a note in the composer's hand that reveals, "The main theme occurred to me when the festival train from Pest arrived at the State station in 1884." The theme certainly has little of "festival" character, but the train in question (Dvorak was noted for his fondness for locomotives and his familiarity with their schedules) brought dozens of anti-Hapsburg patriots to a National Theater Festival in Prague, so it is not unlikely that the Czech colorations in melody and harmony arose from his patriotic mood. Some of the transitional themes are related to ideas in the Hussite Overture, another recent patriotic score composed in memory of the fourteenth- century Czech religious reformer Jan Hus; these, too, no doubt arose from patriotic connections in Dvorak's mind. These stern reflections usher in a rocking, sunny secondary theme that contrasts strikingly with the other material. The concentration of both development and recapitulation make this one of Dvorak's densest symphonic movements in terms of sheer quantity of incident.

The Poco adagio begins with a square-cut melodic phrase that comes to its ordained end after eight measures, raising visions of possible theme-and-variations form with a series of starts and stops. But immediately after the statement of that theme, the musical thought opens out to become increasingly chromatic and expressive in a movement filled with wonderful touches of poignancy and colorful elaboration in the orchestral writing.

The scherzo is written in 6/4 time, but from the beginning there is an exhilarating conflict between the two beats per measure of 6/4 (in the accompaniment) and the three beats per measure of 3/2 that the ear perceives in the melody. This is, in fact, a furiant, a characteristic Czech dance. Dvorak worked hard at the rhythmic lightness evident throughout this utterly delightful movement, so spontaneous in effect that it is difficult to realize the amount of sketching and rewriting that went into its bubbling effervescence. In stark contrast, the finale begins in a mood of tragedy starting right from the intense opening phrase, the last three notes of which are repeated to begin a slow, hymnlike march—with vivid themes developed to a majestic close that only turns definitively to the major in the last bars. —S.L.

The reference to forgiveness has to do with the fact that Hans von Biilow had once been one of the closest of Wagner's associates—and conducted the world premieres of Tristan and Meistersinger—all the while that Wagner was carrying on a not-very-secret affair with his wife Cosima. Indeed, she bore Wagner two children while she was still married to Biilow. Needless to say, after the eventual divorce, Biilow changed camps and became a leading exponent of Brahms rather than Wagner.

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No works by Robert Saxton are yet available on record, but Paul Griffiths has written a short, useful discussion of his work in "A Little Light on Robert Saxton" in the Musical Times for 1986 (volume 127, no. 1717).

For Walton, Hugh Ottaway's article in The New Grove is a good place to start; fuller discussion may be found in the standard study of Walton's music by Frank Howes (Oxford). The March 1982 issue of Musical Times carried a thoughtful eightieth-birthday tribute, "In Search of Walton," by the English critic Bayan Northcott. Jascha Heifetz recorded the Violin Concerto twice; both versions may still be located on LR The first recording ever made of the work was by Heifetz with the Cincinnati Symphony under the direction of Eugene Goossens (RCA, in a four- LP collection of Heifetz performances); the violinist later recorded the work again with the composer conducting the Philharmonia Orchestra (RCA, coupled with the Second Violin Concerto of Mario Castelnuovo-Tedesco). The latter performance is also available on a recent CD reissue, coupled with Heifetz's recording of the Elgar Violin Concerto with Malcolm Sargent conducting the London Symphony (RCA). Another fine recording that took place under the supervision of the composer is that by Kyung-Wha Chung, with Andre Previn conducting the London Symphony Orches- tra, but it was released only on LP and is currently unavailable (London). A superb recent performance of both the Viola Concerto and the Violin Concerto with soloist Nigel Kennedy and the Royal Philharmonic under Previn is available on compact disc (Angel).

There are two good studies of Dvorak by John Clapham, who celebrated his eightieth birthday this year: Antonin Dvorak: Musician and Craftsman, more con- cerned with the composer's music than with his life (St. Martin's; currently out of print), and Antonin Dvorak, a more purely biographical account (Norton). Clapham also contributed the Dvorak article to The New Grove, now available separately in The New Grove Late Romantic Masters (Norton, available in paperback; this volume contains the New Grove articles on Bruckner, Brahms, Dvorak, and Wolf). The most important source materials for Dvorak's life were published by Otakar Sourek in Antonin Dvorak: Letters and Reminiscences (Artia). Alec Robertson's Dvorak in the Master Musicians series is an enthusiastic brief survey of his life and works (Littlefield paperback). Also useful are Robert Layton's BBC Music Guide on Dvorak Symphonies & Concertos (U. of Washington paperback) and Julius Harrison's chapter on Dvorak in The Symphony: I. Haydn to Dvorak, edited by Robert Simpson (Pelican paperback). Donald Francis Tovey's program note on the Dvorak Seventh may be found in his Essays in Musical Analysis (Oxford), where it is listed as the composer's Symphony No. 2 according to the old numbering. My favorite recordings of the Seventh include a recent one by the Cleveland Orchestra under the direction of Christoph von Dohnanyi (Telarc, coupled with the unfamiliar overture My Home, Opus 62), one by Vaclav Neumann and the Czech Philharmonic (Pro Arte), and Neeme Jarvi's with the Scottish National Orchestra (Chandos, coupled with The Golden Spinning Wheel, Opus 109), all available on compact disc. Still wonderful, if you can find it, is the recording by George Szell and the Cleveland Orchestra (CBS, in a three-LP set with the Eighth and Ninth symphonies). —S.L.

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36 Jeffrey Tate

Jeffrey Tate is principal conductor of the Royal Opera, Covent Garden, principal conductor of the English Cham- ber Orchestra (the first in that orchestra's history), and principal guest conductor of the Orchestre National de France. Highlights of Mr. Tate's 1988-89 season include his return to the Boston Symphony Orchestra for two weeks of subscription concerts (he made his Boston Sym- phony debut here in April 1986), followed by his debut with the Philadelphia Orchestra, conducting its annual gala con- ., cert, and his debut with the Los Angeles Philharmonic. In Europe, in addition to his responsibilities with the Royal Opera and the English Chamber Orchestra, he appears with the Bavarian Radio Symphony Orchestra and the Orchestre de la Suisse Romande. With the Royal Opera, Mr. Tate leads a new production of Mozart's Cost fan tutte and a revival of Strauss's Der Rosenkavalier. He also leads the Geneva Opera production of Beethoven's Fidelio. His activities with the English Chamber Orchestra are high- lighted by a tour of the Swiss festivals, numerous concerts and recordings in London, and a Royal Festival Hall concert and recording of Beethoven's Missa Solemnis.

Born in Salisbury, England, Jeffrey Tate began his conducting studies at the London Opera Centre after studying medicine in Cambridge. Early on, at the Royal Opera, Covent Garden, he assisted Sir Georg Solti, Sir Colin Davis, Rudolf Kempe, and Carlos Kleiber, among others. From 1976 to 1980 he assisted Pierre Boulez at Bayreuth in preparing a new Ring production; he also assisted Mr. Boulez at the Paris Opera in preparing the world premiere of Berg's Lulu in its full three-act version. Mr. Tate made his conducting debut with Carmen at the Goteborg Opera of Sweden in 1978 and made debuts soon after that in Cologne, Hamburg, and Nice. He made his Metropolitan Opera debut in 1980 with Lulu and has since returned there for repertoire ranging from Mozart through Stravinsky. At San Francisco Opera he has led productions of Elektra and Le nozze di Figaro. Mr. Tate made his Royal Opera debut in April 1982 with La clemenza di Tito; in June 1983 he made his debut at the Paris Opera with Ariadne auf Naxos. He was made principal conductor of the Royal Opera in 1987.

Since his London Symphony debut in 1984, Mr. Tate has appeared with leading orchestras worldwide, among them the Boston Symphony, San Francisco Symphony, Montreal Symphony, and Toronto Symphony. He has appeared in Europe with the Berlin Philharmonic, Rotterdam Philharmonic, France's Orchestre National, and Zurich's Tonhalle Orchestra, to name a few. Mr. Tate made his concert debut with the English Chamber Orchestra in 1982, after leading their recording of Cante- loube's Songs of the Auvergne with Kiri Te Kanawa. He was soon named their first- ever principal conductor, and he has toured with them to Japan, the United States, and the major festivals of Europe. This past summer they travelled to Aix-en- Provence for an acclaimed production of Cost fan tutte. Mr. Tate made his Salzburg Festival debut in 1985 and has returned each summer for opera and concerts. Next summer he returns to Salzburg for a series of concerts with the Mozarteum Orches- tra and soloist Mitsuko Uchida. Mr. Tate's recent recordings include Mozart and Haydn symphonies, Schoenberg's Yerkl'drte Nacht, and the Beethoven Violin Concerto with Frank Peter Zimmermann, all with the English Chamber Orchestra on EMI; mm the Mozart piano concertos with Mitsuko Uchida and the English Chamber Orches- tra on Philips, to be followed by the Beethoven concertos; Strauss's Arabella with Kiri Te Kanawa, on Decca; and Offenbach's Tales of Hoffmann, on EMI.

37 Js

y:

A WORLD OF STYLE

38

c£>n£HB

.^r,' Malcolm Lowe

With his appointment in 1984, Malcolm Lowe became the tenth concertmaster of the Boston Symphony Orchestra, and only its third concertmaster since 1920. As the orches- tra's principal violinist, he also performs with the Boston Symphony Chamber Players. Mr. Lowe is equally at home as an orchestral player, chamber musician, solo recitalist, and teacher. He makes frequent appearances as a soloist with the Boston Symphony Orchestra at Symphony Hall and at Tanglewood, and he has returned many times to his native Canada for guest appearances as a soloist with orchestras including those of Toronto and Montreal. Mr. Lowe gives solo recitals, chamber music performances, and master classes in the United States and Canada. He is a faculty member at the Tanglewood Music Center, the New England Conservatory of Music, and Boston University. Prior to his appointment in Boston, he was concertmaster of the Orchestre Symphonique de Quebec. Mr. Lowe has been the recipient of many awards, including art grants from the Canada Council. In 1979 he was one of the top laureate winners in the Montreal International Violin Competition.

Born to musical parents—his father a violinist, his mother a vocalist—in Hamiota, Manitoba, where he was raised on a farm, Malcolm Lowe moved with his family to Regina, Saskatchewan, when he was nine. There he studied at the Regina Conservatory of Music with Howard Leyton-Brown, former concertmaster of the London Philharmonic. Mr. Lowe studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis School of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky.

39 Business/Professional Leadership Program

BUSINESS

The Boston Symphony Orchestra wishes to acknowledge these distinguished corporations and professional organizations for their outstanding and exemplary response in support of the orchestra's needs during the past or current fiscal year.

Corporate Underwriters ($25,000 and above)

Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group The Pyramid Companies BSO Single Concert Sponsors

Bank of New England Corporation Opening Night At Symphony

Bay Banks, Inc. Opening Night At Pops

Raytheon Company, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour

Nabisco Brands, Inc. Boston Pops Esplanade Orchestra Japan Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Suntory Limited BSO Recording oiElektra

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492.

40 1988-89 Business Honor Roll ($10,000 and Above)

ADD Inc. Architects John Hancock Mutual Life Insurance Philip M. Briggs E. James Morton Advanced Management Associates Liberty Mutual Insurance Company Harvey Chet Krentzman Gary L. Countryman Analog Devices, Inc. Loomis-Sayles & Company, Inc. Ray Stata Peter G. Harwood AT&T McKinsey & Company Robert Babbitt Robert P. O'Block Bank of Boston Mobil Corporation Ira Stepanian Allen E. Murray Bank of New England Corporation Morse Shoe, Inc. Walter J. Connolly Manuel Rosenberg BayBanks, Inc. Nabisco Brands, Inc. Richard F. Pollard Charles J. Chapman Boston Edison Company NEC Corporation Stephen J. Sweeney Atsuyoshi Ouchi The Boston Globe NEC Deutschland GmbH William 0. Taylor Masao Takahashi Boston Herald The New England Patrick J. Purcell Edward E. Phillips Boston Safe Deposit & Trust Company New England Telephone Company James N. von Germeten Paul C. O'Brien Comet American Marketing PaineWebber, Inc. Douglas Murphy James F. Cleary Con Agra Incorporated Peat Marwick Main & Co. Charles M. Harper Robert D. Happ Connell Limited Partnership Pepsico, Inc. William F. Connell D. Wayne Calloway Coopers & Lybrand Prudential-Bache Securities Vincent M. O'Reilly David F. Remington Country Curtains R&D Electrical Company, Inc. Jane P. Fitzpatrick Richard D. Pedone Creative Gourmets, Ltd. Rabobank Nederland Stephen E. Elmont Hugo Steemsa Digital Equipment Corporation Raytheon Company Kenneth G. Olsen Thomas L. Phillips Dynatech Corporation The Red Lion Inn J. P. Barger John H. Fitzpatrick Eastern Gas & Fuel Associates Shawmut Bank, N.A. Robert W. Weinig John P. Hamill EMC Corporation The Sheraton Boston Hotel & Towers Richard J. Egan Robert McEleney Ernst & Whinney Sonesta International Hotels Corporation Thomas M. Lankford Paul Sonnabend Fidelity Investments/ State Street Bank & Trust Company Fidelity Foundation William S. Edgerly General Cinema Corporation The Stop & Shop Companies, Inc. Richard A. Smith Avram J. Goldberg General Electric Plastics Business Group Teradyne Inc. Glen H. Hiner Alexander V. d'Arbeloff The Gillette Company Tucker Anthony & R.L. Day, Inc. Colman M. Mockler, Jr. Gerald Segel Grafaeon, Inc. USTrust H. Wayman Rogers, Jr. James V. Sidell GTE Products Corporation Watson Mailing/Mail Communications, Inc. Dean T. Langford Irving Rawding HBM/Creamer, Inc. WCRB-102.5 FM Edward Eskandarian Richard L. Kaye The Henley Group WCVB-TV, Channel 5 Boston Paul M. Montrone S. James Coppersmith Honeywell Bull Wondriska Associates Roland Pampel William Wondriska IBM Corporation Zayre Corporation Paul J. Palmer Maurice Segall

41 NATHANIEL PULSIFER & ASSOCIATES

Family Trustee and Investment Advisor

27 North Main Street Ipswich MA 01 938 508-356-3530

42 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999.

Business Leaders ($1,250 and above)

Accountants Banking *Harvey Industries, Inc. Frederick Bigony ARTHUR ANDERSEN & COMPANY *Bank in Liechtenstein, AG William P. Meagher Christian Norgren *J.F. White Contracting Company Philip Bonanno ARTHUR YOUNG & COMPANY BANK OF BOSTON Moliterno Sales, Inc. Thomas P. McDermott Ira Stepanian Stone Kenneth A. Castellucci Charles E. DiPesa & Company BANK OF NEW ENGLAND William F. DiPesa CORPORATION *National Lumber Company Louis COOPERS & LYBRAND Walter J. Connolly L. Kaitz Vincent M. O'Reilly BAYBANKS, INC. PERINI CORPORATION ERNST &WHINNEY Richard F Pollard David B. Perini Thomas M. Lankford BOSTON SAFE DEPOSIT & TRUST COMPANY PEAT MARWICK Consumer Goods/Distributors James N. von Germeten MAIN & CO. *August A. Busch & Company Robert D. Happ Cambridge Trust Company Christopher L. Stevens PRICE WATERHOUSE Lewis H. Clark Chiquita Brands Kenton J. Sicchitano *Chase Manhattan Bank Baron M. Hartley William N. MacDonald Theodore S. Samet & Company COMET AMERICAN MARKETING Theodore S. Samet Chase Manhattan Corporation Douglas Murphy Robert M. Jorgensen i Tofias, Fleishman, CON AGRA INCORPORATED Shapiro & Co., PC. CITICORP/CITIBANK Charles M. Harper Allan Tofias Walter E. Mercer *Dry Creek Vineyards *Eastern Corporate Federal Credit {Advertising/'Public Relations David Stara Union HBM/CREAMER, INC. Jane M. Sansone FAIRWINDS GOURMET COFFEE Edward Eskandarian COMPANY First Mutual of Boston Michael J. Sullivan HILL, HOLLIDAY, CONNORS, Keith G. Willoughby COSMOPULOS, INC. *Hawaiian Department of Agriculture First National Bank of Chicago Jack Connors, Jr. Robert E. Gallery international Paper Company Marc F Wray Irma S. Mann, Strategic Marketing, RABOBANK NEDERLAND Inc. Hugo Steemsa *Massachusetts Department of Food Irma Mann Stearns and Agriculture * Rockland Trust Company NABISCO BRANDS, INC. Aerospace John F Spence, Jr. Charles J. Chapman Northrop Corporation SHAWMUT BANK, N.A. PEPSICO, INC. Thomas V. Jones John P. Hamill D. Wayne Calloway PNEUMO ABEX CORPORATION STATE STREET BANK & TRUST United Liquors, Ltd. Norman J. Ryker COMPANY Michael Tye William S. Edgerly Architects USTRUST Vintners International Company, Inc. Michael Doyle ADD INC. ARCHITECTS James V Sidell Philip M. Briggs Workingmens Co-operative Bank *Winery Associates James Stewart Polshek and Partners John E. McDonald David L. Ready James Polshek & Tim Hartung LEA Group Building/Contracting Electrical/HVAC Eugene R. Eisenberg N A.J. Lane & Company, Inc. L. Rudolph Electrical Company, Inc.

Automotive/Service Andrew J. Lane Louis Rudolph

J.N. Phillips Glass Company, Inc. Chain Construction Corporation ''p.h. mechanical Corporation Alan L. Rosenfield Howard J. Mintz Paul A. Hayes

43 en

Who could ask for anything more?

Elegant French cuisine in the Julien The renowned Julien bar. The Festive Cafe Fleuri. Boston's best brunch * Successful business lunches. Dancing under the stars. =a Classicool Music: Jazz and classical.

And, yes, more.

MERIDIEN BOSTON TRAVEL COMPANION OF AIR FRANCE

250 Franklin St., Boston 617 451-1900 800 543-4300

THE WORLD'S LARGEST RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL

Tower Records has the largest selection of classical recordings

in a department with its own sound environment.

OPEN TIL MIDNIGHT TO SERVE YOU! IQIUIRRMDSMMQ BOSTON T7CXMr//7*a*TW/*m Mass. Ave. At Newbury In Back Bay

Above Auditorium \\) Stop on the Greenline

44 ' '.

A Special Life-style Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment.

' 100 Old Billerica Rd. ^%^'%s,. < Bedford, MA 01730 (617) 275-8700

Owned and operated by Carleton-Willard Hnmp< tnr a nr»n-r\rwfi* rArnnratinn

^SSg? '

I

A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

State Street London Limited, wholly-owned subsidiary o f State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Zurich, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1988. R&D ELECTRICAL COMPANY, INC. Food Service/Industry BOLT BERANEK AND NEWMAN, Richard D. Pedone INC. * Boston Showcase Company Stephen R. Levy Jason E. Starr Electronics Cordel Associates, Inc. COMPUGRAPHIC CORPORATION Alden Electronics, Inc. James B. Hangstefer Carl E. Dantas John M. Alden COMPUTER PARTNERS, INC. CREATIVE GOURMETS, LTD. ANALYTICAL SYSTEMS Paul J. Crowley Stephen E. Elmont ENGINEERING CORPORATION Costar Corporation Different Tastes Catering Michael B. Rukin Otto Morningstar Jack Milan Epsco Incorporated DIGITAL EQUIPMENT daka Inc. Wayne P. Coffin CORPORATION Terry Vince :The Mitre Corporation Kenneth G. Olsen Federal Distillers, Inc. Charles A. Zraket Dynamics Research Corporation Alfred J. Balerna PARLEX CORPORATION Albert Rand Herbert W. Pollack Seasons and Occasions, Inc. DYNATECH CORPORATION Dalu Pearson J. P. Barger Energy Footwear EG&G, INC. CABOT CORPORATION Dean W Freed Samuel Bodman *Jones & Vining, Inc. Sven A. Vaule, Jr. EMC CORPORATION MOBIL CORPORATION Richard J. Egan INC. Allen E. Murray MORSE SHOE, Manuel Rosenberg *General Eastern Instruments Co. ^Jewmont Mining Corporation Pieter R. Wiederhold The Rockport Corporation Gordon R. Parker Stanley Kravetz HELIX TECHNOLOGY CORPORATION lEngineering THE STRIDE RITE CORPORATION Robert J. Lepofsky Arnold S. Hiatt Goldberg-Zoino & Associates, Inc. THE HENLEY GROUP Donald T. Goldberg Furnishings/'Housewares Paul M. Montrone Stone & Webster Engineering HEWLETT-PACKARD COMPANY porporation ARLEY MERCHANDISING CORPORATION Ben L. Holmes Thomas J. Whelan David I. Riemer HONEYWELL BULL The Thompson & Lichtner Corona Curtains Roland Pampel Company, Inc. Paul Sheiber John D. Stelling IBM CORPORATION COUNTRY CURTAINS Paul J. Palmer Entertainment/Media Jane P. Fitzpatrick Instron Corporation Boston Garden/Boston Bruins Jofran, Inc. Harold Hindman William D. Hassett Robert D. Roy *Intermetrics Inc. ENERAL CINEMA Joseph A. Saponaro Graphic Design CORPORATION *Ionics, Inc. Richard A. Smith *Clark/Linsky Design Arthur L. Goldstein Robert H. Linsky National Amusements, Inc. *KYBE Corporation Sumner M. Redstone *The Watt Group Charles Reed, Jr. Don Watt *M/A-Com, Inc. Finance/Venture Capital WONDRISKA ASSOCIATES Vessarios G. Chigas 'arson Limited Partnership William Wondriska MASSCOMP Herbert Carver Richard A. Phillips High Technology/Electronics ^arrell, healer & company, MILLIPORE CORPORATION :nc. ANALOG DEVICES, INC. John A. Gilmartin Ray Stata Richard A. Parrell NEC CORPORATION THE FIRST BOSTON APOLLO COMPUTER, INC. Atsuyoshi Ouchi Thomas A. Vanderslice DORPORATION/BOSTON NEC DEUTSCHLAND GmbH Malcolm MacColl *Aritech Corp. Masao Takahashi THE FIRST BOSTON James A. Synk *Orion Research, Inc. !ORPORATION/NEW YORK AUGAT INC. Alexander Jenkins III Pamela Lenehan Roger D. Wellington PRIME COMPUTER, INC. 'nvestors in Industry Corporation BBF Corporation Joe M. Henson Ivan N. Momtchiloff Boruch B. Frusztajer

45 HOW TO ENIOY

Play it loud or soft, but play it in grand style at Herring Run. These expansive homes have the features that matter: first- or second-floor master suite, vaulted ceilings, attached garage, and a lower level to finish as you please. Single-family style with condominium convenience, on a quiet ridgetop overlooking the Cape Cod Canal in mainland Bourne.. .less than an hour from Boston.

Priced from the low $300,000's. On-site sales office open Friday through Monday, 11-5, HERIWQ and by appointment. Please call (508) 888-6436.

From Boston; Take Route 3, exit 2 to Herring Pond Road. Take a left; Herring Run is 2.5 miles on the left. Herring Pond Road

From 1-495; Take exit 2 (Route 6, Bourne-Sagamore). Proceed Bourne, Massachusetts counter-clockwise around rotary to Route 6 east. Continue 2.5 mi. Left at Flashing light. Herring Run is V2 mi. on the right.

CAREY6 LIMOUSINE •CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES FOR ALL OCCASIONS •EXECUTIVE SERVICE Est. 1924 T& 'Richard tl. Wessell Company 623-8700 24 HR. SERVICE/BOSTON AREA 'Decoratiw and ' Tainted ' Tinisfies A&A LIMOUSINE RENTING INC. -Waliham, .Massachusetts 02154 161 BROADWAY—SOMERVILLE, MA l6q Elm Street SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS MAJOR CREDIT CARDS ACCEPTED 6i7-#*4-5*ii 617*47 2278 NATIONWIDE 1-800-336-4646

46 RAYTHEON COMPANY Consolidated Group, Inc. PAINEWEBBER, INC. Thomas L. Phillips Woolsey S. Conover James F. Cleary

SofTech, Inc. FRANK B. HALL OF The Petron Companies Justis Lowe, Jr. MASSACHUSETTS, INC. Ronald M. Pearson Colby Hewitt, Jr. The Analytical Sciences Corporation *The Putnam Management Company, TASC) *Fred S. James & Company of New Inc. Arthur Gelb England, Inc. Lawrence J. Lasser P. Joseph McCarthy Tech/Ops, Inc. SALOMON BROTHERS, INC. Marvin G. Schorr JOHN HANCOCK MUTUAL LIFE Sherif A. Nada INSURANCE COMPANY *State Street Development fTERADYNE INC. E. James Morton Management Corporation Alexander V. d'Arbeloff * Johnson & Higgins of Massachusetts, Allen D. Carleton ITHERMO ELECTRON CORP. Inc. TUCKER ANTHONY & R.L. DAY, George N. Hatsopoulos Robert A. Cameron INC. f£RE Corporation LIBERTY MUTUAL INSURANCE Gerald Segel COMPANY John K. Grady Wainwright Capital Company Gary L. Countryman John M. Plukas hotels/'Restaurants THE NEW ENGLAND WOODSTOCK CORPORATION Edward E. Phillips Sack Bay Hilton Nelson J. Darling, Jr. William Morton Robert D. Gordon Adjusters, Inc.

The Bostonian Hotel Robert D. Gordon Timothy P. Kirwan SAFETY INSURANCE COMPANY Boston Marriott Copley Place Richard B. Simches Alain Piallat COPLEY PLAZA HOTEL Legal William Heck Investments BINGHAM, DANA & GOULD 'HE HOUSE Everett H. Parker HAMPSHIRE ABD Securities Corporation Thomas A. Kershaw Theodor Schmidt-Scheuber Dickerman Law Offices Lola Dickerman Mildred's Chowder House Baring America Asset Management James E. Mulcahy *Fish & Richardson Company, Inc. Richard Dorfman ^HE RED LION INN Stephen D. Cutler John H. Fitzpatrick *Gadsby & Hannah "Baring International Investment Ltd. Harry F. Hauser 'HE SHERATON BOSTON HOTEL John F. McNamara GOLDSTEIN & MANELLO b TOWERS BEAR STEARNS & COMPANY, INC. Richard J. Snyder Robert McEleney Keith H. Kretschmer GOODWIN, PROCTER AND HOAR SONESTA INTERNATIONAL *Essex Investment Management Robert B. Fraser 10TELS CORPORATION Company, Inc. Paul Sonnabend Joseph C. McNay Hubbard & Ferris 'HE WESTIN HOTEL, COPLEY FIDELITY INVESTMENTS/ Charles A. Hubbard >LACE FIDELITY FOUNDATION * Lynch, Brewer, Hoffman & Sands Bodo Lemke *Goldman, Sachs & Company Owen B. Lynch Peter D. Kiernan *Mintz, Levin, Cohn, Ferris, Glovsky & ndustrial Distributors Popeo, PC. *Interact Management, Inc. Admiral Metals Servicenter Stephen Parker Francis X. Meaney 'ompany KAUFMAN & COMPANY Nissenbaum Law Offices Maxwell Burstein Sumner Kaufman Gerald L. Nissenbaum VTillard Metal Service Center THE KENSINGTON INVESTMENT *Nutter, McClennen & Fish Donald Millard, Jr. COMPANY John K. P. Stone III Alan E. Lewis PALMER & DODGE nsurance Robert E. Sullivan *Kidder, Peabody & Company \rkwright Boston Insurance John G. Higgins Sarrouf, Tarricone & Flemming Frederick J. Bumpus LOOMIS-SAYLES & COMPANY, Camille F. Sarrouf AMERON & COLBY CO., INC. INC. Sherburne, Powers & Needham Lawrence S. Doyle Peter G. Harwood Daniel Needham, Jr.

CHARLES H. WATKINS & MORGAN STANLEY & COMPANY, Weiss, Angoff, Coltin, Koski & Wolf, :OMPANY INC. PC. Richard P. Nyquist John Lazlo Dudley A. Weiss

47 Perfect Harmony

The BSO— pulling together in perfect harmony. Just the way you work with your Private Banker at BayBanks. Together we can custom-tailor a financial plan that's in tune with your goals and your lifestyle. Your Private Banker is your personal

liaison with the entire BayBanks network for all the services you need. Plus, you'll receive special privileges as a Private Banking client.

For the complete story, call 617-556-6350.

It will be music to your ears. BayBanks mWATEBANKING Members FDIC

48 Management/Financial/Consulting *Avedis Zildjian Company * Polaroid Corporation ADVANCED MANAGEMENT Armand Zildjian I.M. Booth ASSOCIATES * Barry Wright Corporation *Rand-Whitney Corporation Harvey Chet Krentzman Ralph Z. Sorenson Robert Kraft ARTHUR D. LITTLE, INC. The Biltrite Corporation *Sprague Electric Company John F. Magee Stanley J. Bernstein John L. Sprague Stackpole Corporation 3ain & Company, Inc. Boston Sand & Gravel Company The William W. Bain Dean M. Boylan Lyle G. Hall THE BOSTON CONSULTING CENTURY MANUFACTURING AND Superior Brands, Inc. ROUP TY-WOOD CORPORATION Richard J. Phelps Jonathan L. Isaacs Joseph Tiberio *Termiflex Corporation

Corporate Decisions, Inc. CONNELL LIMITED William E.Fletcher

David J. Morrison PARTNERSHIP *Textron, Inc. William Connell the Forum Corporation F B.F Dolan John W. Humphrey *C.R. Bard, Inc. *Towle Manufacturing Company Robert H. McCaffrey Christopher J. McGillivary iaynes Management, Inc. G. Arnold Haynes Dennison Manufacturing Company Webster Spring Company, Inc. 3CA Management Nelson G. Gifford Alexander M. Levine Donald E. Strange Emhart Corp. Wire Belt Company of America F. Wade Greer fason M. Cortell & Associates, Inc. T. Mitchell Ford Jason M. Cortell *Erving Paper Mills Media Charles B. Housen

! Leonard Rosenblatt

49 J\/(aij

Your enjoyment of the Boston Symphony Orchestra can be enhanced by joining in a very personal expression of support which at the same time will honor or memorialize a loved one or good friend, or express your own happy association with Symphony Hall. For a gift of $6,000 to the Endowed Seats Program, a plaque with an inscription of your choice will be placed on a seat you select in the Hall, and a similar plaque will be affixed to the "Endowed Seats in Symphony Hall" board in the Massachusetts Avenue corridor. To learn more about the Endowed Seats Program, contact Joyce M. Serwitz, Director, Major Gifts Program, Symphony Hall, Boston, MA 02115, or call (617) 266-1492, ext. 132. HONOR ROLL OF BSO ENDOWED SEAT PARTICIPANTS Linda Abegglen Mr. and Mrs. Haskell Gordon Mrs. Robert B. Newman Professor and Mrs. Rae Anderson Mrs. John L. Grandin Mrs. Florence Chesterton Norris Mrs. Andrew Anderson-Bell John Grozier Miss Madeleine H. O'Brien Mrs. Stephen H. Anthony Mr. and Mrs. Harry Guild Donald Lee Otto

Mr. and Mrs. David B. Arnold, Jr. Mrs. R.W. Hale, Jr. Mrs. Marjorie Paley

Family of Hilda Ayer Mrs. Henry S. Hall, Jr. Mrs. Eleanor J. Panasevich Talcott Banks Daniel H. Hamilburg Mr. and Mrs. Joseph P. Pellegrino Mr. and Mrs. Allen G. Barry Donald F. Harding Mrs. Pauline Perry F. Gregg Bemis Alice Bolster Hatch Mr. and Mrs. Richard D. Phippen

John W. Bethell Mrs. Charles L. Hibbard, Jr. Mr. and Mrs. David Pokross

Peter Black Mr. and Mrs. Richard D. Hill Mr. and Mrs. William J. Poorvu Mrs. Harold D. Bornstein Ms. Olley Hoagland Gerald Powers Mrs. Mark Bortman Mr. and Mrs. Herbert Hoffman Esther V. Rabb Mrs. John M. Bradley Marilyn Brachman Hoffman Sidney R. Rabb Miss Julie Bradley Katherine G. Howard Mr. and Mrs. Fairfield Raymond Mrs. Ralph Bradley Mrs. Charles A. Hubbard Mrs. Vladimir Resnikoff Mrs. William Brengle Mr. and Mrs. James F. Hunnewell Mr. and Mrs. John F. Rich Mrs. Richard Brickley Mr. Christopher W. Hurd Mabel Louise Riley Mr. and Mrs. George W. Brown Mrs. James Jeffries A.R. Ripley

Ms. Renee Burrows Mr. John W. Johnson, Jr. Mrs. George Rowland Mrs. Thomas D. Cabot Theodore S. Jones Mrs. Michael B. Salke

Mr. and Mrs. Norman Cahners Jr. Council of BSO Mr. and Mrs. Paul A. Schmid Eleanor Lewis Campbell Hettie L.R. Kaffenburgh Mr. and Mrs. George Schwenk Elizabeth Paine Card Mr. and Mrs. Albert S. Kahn Mr. and Mrs. Richard Sears Mrs. Paul D. Caskey Mrs. BelaKalman Mr. and Mrs. George Seybolt Mrs. Ronald Gene Casty Mrs. S. Charles Kasdon Mr. and Mrs. Joseph M. Shapiro Mrs. Miles Nelson Clair Frederick Kauders Ruth Shapiro Mr. and Mrs. Eugene H. Clapp II Mitchell B. Kaufman Family Virginia C. Shattuck

Mrs. Robert B. Clarke Robert J. Kaufman George and Beatrice Sherman Mr. and Mrs. Bertram M. Cohen Mr. and Mrs. Robert M.P Kennard Charitable Trust Mrs. Nat Cole Mary Lee Evans Kimball Jane Sibley Johns Congdon Mrs. Chase Kimball Mr. and Mrs. Gifford K. Simonds Mr. and Mrs. William Congleton Mr. and Mrs. Gordon Kingsley John Simonds Arthur P. Contas Jean Emery Koch Mr. and Mrs. Donald Sinclair Mrs. Douglas Crocker Albert C. Koch Dr. George Smith Mrs. Harry K. Cross Mr. and Mrs. Robert Kraft Mr. and Mrs. Richard A. Smith John W. Dacey Mr. and Mrs. Harvey Chet Krentzman Julian Sobin Henrietta Dane Mr. and Mrs. Selwyn A. Kudisch Joy Ivey St. John and Sisters

Mrs. Ernest B. Dane, Jr. Mr. and Mrs. Melvin Kutchin Dr. Frederick Stare Elizabeth K. Darlington Mr. and Mrs. Roger Landay Edward S.Stimpson III

Mrs. John E. Dawson Mr. and Mrs. Allen Latham, Jr. Wallace I. Stimpson Mr. and Mrs. Albert DeFriez R. Willis Leith Mr. and Mrs. Dewey David Stone Mr. and Mrs. Robert C. Dean Dr. Clinton N. Levin Miss Elizabeth B. Storer

Dominic DiMaggio Family Mr. and Mrs. Alexander Levine Mrs. Arthur I. Strang Dynatech Corp. Miriam Little Mrs. RollandTapley Mr. and Mrs. Robert Epstein Miss Grace S. Lockwood Mr. and Mrs. Rolland Tapley Epstein/Carver Family Foundation Mary F Lord Frederic Tauber

George Fenollosa Dr. Frederick H. Lovejoy, Jr. William O. Taylor Beverly Brooks Floe Joseph Lovejoy Theodore Teplow Mrs. AHyn Forbes Charles, Cora, Henry and Warren Lyman Mrs. David Terwilliger Mrs. Lorraine T. Frankel Mr. and Mrs. Harry Marks Dr. Hilde Tillman Kenneth Freed Mr. and Mrs. C. Charles Marran Lenore Travis Milton Freedburg Mrs. Charles Mason Prof, and Mrs. Clair E. Turner Stone Freedburg Massachusetts Charitable Society William Underwood Company Mrs. Frank Allen Fuller Foundation Hon. Thomas McGee Irving Usen

Mr. and Mrs. William H. Ganick Mrs. EC. McNamara Mr. and Mrs. Charles W. vonRosenberg, ] Mrs. Thomas Gardiner John McNear Winthrop Wadleigh

Dr. and Mrs. Kenneth J. Germeshausen Robert W. MacPherson Mrs. Dorothy Wallace Mrs. Sumner Gerstein Ruth Dyer Merriam Cora Warren

Charles H. Gessner Family Mrs. Houghton P. Metcalf Mrs. E. Sohier Welch Mrs. Fernand Gillet Mrs. August R. Meyer Mr. John Wells Ann and Max Goldberg Foundation Mr. and Mrs. Nathan R. Miller Mrs. Mark Werman Mr. and Mrs. Avram Goldberg Mr. and Mrs. Garlan Morse Mr. and Mrs. Ralph Williams Mr. and Mrs. Mark Goldweitz Richard P. Morse Albert O. Wilson Foundation Mr. and Mrs. Saul Goldweitz Mr. and Mrs. Richard S. Morse Elizabeth Wooley Ms. Carolyn Mugar Dr. Nicholas T Zervas

50 ITEK GRAPHIX CORPORATION *Northland Investment Corporation CHARLES RIVER R. Patrick Forster Robert A. Danziger LABORATORIES, INC. LABEL ART, INC. Renaissance Properties Henry L. Foster Thomas J. Cobery Roger E. Tackeff *CompuChem Corporation MARK-BURTON PRINTING *Trammell Crow Company Gerard Kees Verkerk Robert Cohen Arthur DeMartino DAMON CORPORATION MASSACHUSETTS ENVELOPE David I. Kosowsky COMPANY Retail * Johnson & Johnson Steven Grossman DEMOULAS SUPERMARKETS, James E. Burke Rand Typography, Inc. INC. Lectro-Med Health Screening Mildred Nahabedian T.A. Demoulas Services, Inc. Allan Kaye Sherman Printing *Dudwick Shindler Association Dennis Krize Peter Sherman Services *Federated Department Stores, Inc. ASQUITH CORPORATION Howard Goldfeder Publishing Lawrence L. Asquith FILENE'S Addison-Wesley Publishing Company, *Giltspur Exhibits/Boston David P. Mullen Inc. Thomas E. Knott Donald R. Hammonds *Gitano The Prudential Property Company, Alison Belaza CAHNERS PUBLISHING Inc. COMPANY HARBOR SWEETS R.M. Bradley & Co., Inc. Saul Goldweitz Ben Strohecker *Victor Grillo & Associates HOUGHTON MIFFLIN COMPANY *Hills Department Stores Victor N. Grillo Harold T. Miller Stephen A. Goldberger

J. Baker, Inc. Software/Information Services Little, Brown & Company Sherman N. Baker Kevin L. Dolan CULLINET SOFTWARE, INC.

J. John J. Cullinane McGraw-Hill, Inc. BILDNER&SONS James L. Bildner Harold W. McGraw, Jr. D HH ata Architects, Inc. The Robb Report *Jay B. Rudolph, Inc. Ronald Martin Cooperstein Samuel Phillips Rudolph JORDAN MARSH COMPANY Interactive Data Corporation Time, Inc. Elliot Stone John M. Rutherfurd, Jr. George Ray Karten's *Lotus Development Corporation Yankee Publishing Incorporated Jewelers Jim P. Manzi Rob Trowbridge Joel Karten *Phoenix *Loblaw Companies Limited Technologies, Ltd. David Nichol Neil Colvin Real Estate/Development Louis, Boston THE BEACON COMPANIES Travel/Transportation Murray Pearlstein Norman Leventhal GANS TIRE COMPANY, INC. NEIMAN-MARCUS David Gans Benjamin Schore Company William D. Roddy Benjamin Schore HERITAGE TRAVEL, INC. * Purity Supreme Supermarkets Donald R. Sohn Combined Properties, Inc. Frank P. Giacomazzi Stanton L. Black THE TRANS-LEASE GROUP *Saks Fifth Avenue John J. McCarthy Corcoran, Mullins, Jennison, Inc. Ronald Hoffman Joseph E. Corcoran Utilities *Sears, Roebuck & Company Demeter Realty Trust S. David Whipkey AT&T George P. Demeter THE STOP & S HOP Robert Babbitt FIRST WINTHROP CORPORATION COMPANIES, INC. BOSTON EDISON COMPANY Arthur J. Halleran, Jr. Avram J. Goldberg Stephen J. Sweeney The Flatley Company Tiffany & Co. EASTERN GAS & FUEL n Thomas J. Flatley William Chaney ASSOCIATES The Fryer Group, Inc. ZAYRE CORPORATION Robert W. Weinig Malcolm F. Fryer, Jr. Maurice Segall New England Electric System Hilon Development Corporation Joan T. Bok Haim S. Eliachar Science/Medical NEW ENGLAND TELEPHONE Historic Mill Properties Baldpate Hospital COMPANY Bert Paley Lucille M. Batal Paul C. O'Brien

John M. Corcoran & Company : Cambridge BioScience Corporation *NYNEX ~v,t I John M. Corcoran Gerald F. Buck Delbert C. Staley

51 Next Program . . .

Thursday, January 19, at 8 Friday, January 20, at 2 Saturday, January 21, at 8 Tuesday, January 24, at 8

ERICH LEINSDORF conducting

MOZART Serenade No. 10 in B-flat for winds, K.370a(361) Largo—Molto Allegro Menuetto; Trio I; Trio II Adagio

Menuetto: Allegretto; Trio I; Trio II Romance. Adagio—Allegretto—Adagio Theme and Variations [Andante] Finale: Molto Allegro

INTERMISSION

STRAVINSKY Symphony in C Moderato alia breve Larghetto concertante Allegretto Largo—Tempo giusto, alia breve

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Sym- phony-Charge" at (617) 266-1200, Monday through Saturday, to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check.

52 Coming Concerts . . .

Thursday 'D'—January 19, 8-9:50 Friday 'A'—January 20, 2-3:50 Saturday 'B'—January 21, 8-9:50 Tuesday 'B'—January 24, 8-9:50 ERICH LEINSDORF conducting MOZART Serenade No. 10 in B-flat for winds, K.370a(361) STRAVINSKY Symphony in C boston 54 chauncy street 542-7444 Wednesday, January 25, at 7:30 wellesley REA Open Rehearsal 53 central street 235-7444 WH Steven Ledbetter will discuss the program at 6:45 in the Cohen Wing. Tuxedo rentals and sales since 1914 Thursday 'B'—January 26, 8-9:55 Friday 'B'—January 27, 2-3:55 Saturday 'A'—January 28, 8-9:55 ERICH LEINSDORF conducting YEFIM BRONFMAN, piano STRAVINSKY Octet for winds MOZART Piano Concerto No. 26 in D, K.537, Coronation STRAVINSKY Suite from The Fairy's Kiss How to order CHABRIER Espana Wednesday, February 1, at 7:30 wood in a Open Rehearsal Marc Mandel will discuss the program at 6:45 in the Cohen Wing. restaurant. Thursday 'C—February 2, 8-9:55 Friday 'B'—February 3, 2-3:55 Saturday 'B'—February 4, 8-9:55 Tuesday 'C—February 7, 8-9:55 GIUSEPPE SINOPOLI conducting SCHUMANN Manfred Overture You've probably never seen wood on a SCHUMANN Symphony No. 3, Rhenish menu. Unless you've been to Boodle's, STRAUSS Also sprach Zarathustra Boston's authentic grill. Our aged steaks, plump poultry, fresh fish, and native shellfish are Thursday 'A'—February 9, 8-9:55 grilled over sassafras, mesquite, wild Friday 'A'—February 10, 2-3:55 cherry, or hickory. your You choose Saturday 'B'—February 11, 8-9:55 grill wood and your favorite of twenty Tuesday 'B'—February 14, 8-9:55 sauces, butters, and condiments. And once you've ordered wood, CHRISTOPH VON DOHNANYI conducting

you'll stick with it. ANDRAS SCHIFF, piano LIGETI Atmospheres BARTOK Piano Concerto No. 2 BRAHMS Symphony No. 1

Programs and artists subject to change.

O F BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. Indoor Parking. Phone (617) BOODLES. w 53 M HH hftl

t 25 yEAKS OF MUSIC- m MAKING!

Join the principalplayers of the Boston Symphony Orchestra and experience chamber music at its best with one of the world's finest ensembles.

SUNDAYAFTERNOONS AT 3:00 PM ft JORDAN HALL u AT THE NEWENGLAND CONSERVATORY GILBERT KALISH, pianist

FEBRUARY 5, 1989 i PISTON Woodwind Quintet KIRCHNER Concerto for violin, cello, ten winds, and percussion

FAURE Piano Quartet in C minor, Op. 15

APRIL 2, 1989

HAYDN Piano Trio to be announced

SCHUBERT Octet in F, D.803

TICKETS: $14.50, $11.00, $8.00

Tickets available at the Symphony Hall Box Office, Monday through Saturday from 10AM until 6PM. To charge tickets call

'SymphonyCharge ' at 266-1200 Monday through Saturday from 10AM until 6PM.

54 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) Huntington Avenue stairwell near the 266-1492. For Boston Symphony concert Cohen Annex and is open from one hour program information, call "C-O-N-C-E-R-T." before each concert through intermission. The shop carries BSO and musical-motif THE BOSTON SYMPHONY performs ten merchandise and gift items such as calen- months a year, in Symphony Hall and at dars, clothing, appointment books, drink- Tanglewood. For information about any of ing glasses, holiday ornaments, children's the orchestra's activities, please call Sym- books, and BSO and Pops recordings. All phony Hall, or write the Boston Symphony proceeds benefit the Boston Symphony Orchestra, Symphony Hall, Boston, MA Orchestra. For merchandise information, 02115. please call (617) 267-2692. THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on TICKET RESALE: If for some reason you Huntington Avenue, may be entered by the are unable to attend a Boston Symphony Symphony Hall West Entrance on Hunt- concert for which you hold a ticket, you may ington Avenue. make your ticket available for resale by call- FOR SYMPHONY HALL RENTAL ing the switchboard. This helps bring needed revenue to the orchestra and makes INFORMATION, call (617) 266-1492, or your seat available to someone who wants to write the Function Manager, Symphony attend the concert. A mailed receipt will Hall, Boston, MA 02115. acknowledge your tax-deductible THE BOX OFFICE is open from 10 a.m. contribution. until 6 p.m. Monday through Saturday; on RUSH SEATS: There are a limited number concert evenings, it remains open through of Rush Tickets available for the Friday- intermission for BSO events or just past afternoon and Saturday-evening Boston starting-time for other events. In addition, Symphony concerts (subscription concerts the box office opens Sunday at 1 p.m. when only). The continued low price of the Satur- there is a concert that afternoon or evening. day tickets is assured through the gener- Single tickets for all Boston Symphony osity of two anonymous donors. The Rush subscription concerts are available at the Tickets are sold at $5.50 each, one to a box office. For outside events at Symphony customer, at the Symphony Hall West Hall, tickets will be available three weeks Entrance on Fridays beginning 9 a.m. and before the concert. No phone orders will be Saturdays beginning 5 p.m. accepted for these events. PARKING for Boston Symphony Orches- TO PURCHASE BSO TICKETS: American tra evening concerts is available for $4 at Express, MasterCard, Visa, a personal check, the Prudential Center Garage. Enter after and cash are accepted at the box office. To 5 p.m., exit by 1 a.m., and present your charge tickets instantly on a major credit ticket stub when exiting. card, or to make a reservation and then send payment by check, call "Symphony-Charge" LATECOMERS will be seated by the at (617) 266-1200, Monday through Satur- ushers during the first convenient pause in day from 10 a.m. until 6 p.m. There is a the program. Those who wish to leave handling fee of $1.50 for each ticket ordered before the end of the concert are asked to by phone. do so between program pieces in order not to disturb other patrons. IN CONSIDERATION of our patrons and artists, children under four years of age will SMOKING IS NOT PERMITTED in any not be admitted to Boston Symphony part of the Symphony Hall auditorium or in Orchestra concerts. the surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch BOSTON SYMPHONY BROADCASTS: rooms, and in the main lobby on Massachu- Concerts of the Boston Symphony Orches- setts Avenue. tra are heard by delayed broadcast in many parts of the United States and Canada, CAMERA AND RECORDING EQUIP- as well as internationally, through the Boston MENT may not be brought into Symphony Symphony Transcription Trust. In addi- Hall during concerts. tion, Friday-afternoon concerts are broad- FIRST AID FACILITIES for both men cast live by WGBH-FM (Boston 89.7); and women are available in the Cohen Saturday-evening concerts are broadcast Annex near the Symphony Hall West live by both WGBH-FM and WCRB-FM Entrance on Huntington Avenue. On-call (Boston 102.5). Live broadcasts may also be physicians attending concerts should leave heard on several other public radio stations their names and seat locations at the throughout New England and New York. If switchboard near the Massachusetts Ave- Boston Symphony concerts are not heard nue entrance. regularly in your home area and you would like them to be, please call WCRB Produc- WHEELCHAIR ACCESS to Symphony tions at (617) 893-7080. WCRB will be glad Hall is available at the West Entrance to to work with you and try to get the BSO on the Cohen Annex. the air in your area.

AN ELEVATOR is located outside the BSO FRIENDS: The Friends are annual Hatch and Cabot-Cahners rooms on the donors to the Boston Symphony Orchestra. Massachusetts Avenue side of the building. Friends receive BSO, the orchestra's news- letter, as well as priority ticket information LADIES' ROOMS are located on the and other benefits depending on their level orchestra level, audience-left, at the stage of giving. For information, please call the end of the hall, and on the first-balcony Development Office at Symphony Hall level, audience-right, outside the Cabot- weekdays between 9 and 5. If you are Cahners Room near the elevator. already a Friend and you have changed MEN'S ROOMS are located on the orches- your address, please send your new address tra level, audience-right, outside the Hatch with your newsletter label to the Develop- Room near the elevator, and on the first- ment Office, Symphony Hall, Boston, MA balcony level, audience-left, outside the 02115. Including the mailing label will Cabot-Cahners Room near the coatroom. assure a quick and accurate change of address in our files. COATROOMS are located on the orchestra BUSINESS BSO: The BSO's Busi- and first-balcony levels, audience-left, out- FOR ness Professional Leadership program side the Hatch and Cabot-Cahners rooms. & makes it possible for businesses to partici- The BSO is not responsible for personal pate in the life of the Boston apparel or other property of patrons. Symphony Orchestra through a variety of original and LOUNGES AND BAR SERVICE: There exciting programs, among them "Presi- are two lounges in Symphony Hall. The dents at Pops," "A Company Christmas at Hatch Room on the orchestra level and the Pops," and special-event underwriting. Cabot-Cahners Room on the first-balcony Benefits include corporate recognition in level serve drinks starting one hour before the BSO program book, access to the each performance. For the Friday-after- Higginson Room reception lounge, and noon concerts, both rooms open at 12:15, priority ticket service. For further informa- with sandwiches available until concert tion, please call the BSO Corporate time. Development Office at (617) 266-1492.

56 :

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m 1988 The First National Bank of Boston asterv?

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